Gotowe bibliografie tematyczne / Royal Opera House (London, England)

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Gotowa bibliografia na temat „Royal Opera House (London, England)”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 27 lipca 2025

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Artykuły w czasopismach na temat "Royal Opera House (London, England)"

Barlow, Jill. "London, Royal Opera House: ‘The Blackened Man’." Tempo 57, no. 223 (2003): 87–89. http://dx.doi.org/10.1017/s004029820327008x.

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Will Todd, born in Durham in 1970, has an extensive output of compositions to his credit, including highly-charged operas and oratorios, largely centred around themes from northeastern England, notably the workers' struggle against early 19th and 20th-century injustice and oppression. I had heard his emotive cantata The Burning Road performed at St Albans Cathedral in February 2002 – it depicts the relentless, footsore Jarrow Marchers of 1936 who stopped in the city en route to London – and was interested to hear the follow-up in his new opera on an allied theme: The Blackened Man.

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Venn, Edward. "London, Royal Opera House: ‘The Tempest’." Tempo 58, no. 229 (2004): 72–73. http://dx.doi.org/10.1017/s0040298204210245.

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By all (press) accounts, the overture to The Tempest, Thomas Adès's first full-scale opera, was completed at speed – just five days before the 20 February première, at the Royal Opera House, Covent Garden. Comparisons with Rossini naturally followed, but the question remained whether such facility would be married to the necessary substance for a setting of Shakespeare's play Robin Holloway's claim (in the Financial Times) that the opera was ‘make or break’ for Adès may in hindsight come to appear somewhat overstated, but there is no doubt that this was an important milestone in the composer's

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Service, Tom. "London, Royal Opera House: ‘Sophie's Choice’." Tempo 57, no. 224 (2003): 41–42. http://dx.doi.org/10.1017/s0040298203210159.

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Few contemporary operas achieve the newsworthiness of Nicholas Maw's Sophie's Choice. Even before its 7 December première at the Royal Opera House, Covent Garden, the piece dented public consciousness thanks to a barrage of press coverage surrounding the production, the cast, and the subject matter. The irony is that it was the other names associated with the opera – conductor Simon Rattle, director Trevor Nunn, and William Styron, author of the 1979 novel – that made Sophie's Choice a news story, rather than the fame of its composer. Yet Maw's was the ultimate responsibility for the creation

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Sporton, Gregory. "Don Pasquale, Opera by Gaetano Donizetti, Damiano Michieletto (dir.)." Scene 10, no. 1 (2022): 141–44. http://dx.doi.org/10.1386/scene_00046_5.

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Knies, Stephan. "DIVINE IRENE." Opernwelt 63, no. 3 (2022): 58–59. http://dx.doi.org/10.5771/0030-3690-2022-3-058.

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Roloff Halsey, Wiebke. "BEGEHRLICHE BLICKE." Opernwelt 63, no. 4 (2022): 45. http://dx.doi.org/10.5771/0030-3690-2022-4-045.

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Fuchs, Jörn Florian. "WIR SIND GEMEINT." Opernwelt 66, no. 4 (2025): 40–41. https://doi.org/10.5771/0030-3690-2025-4-040.

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Price, Curtis, Judith Milhous, and Robert D. Hume. "A Royal Opera House in Leicester Square (1790)." Cambridge Opera Journal 2, no. 1 (1990): 1–28. http://dx.doi.org/10.1017/s0954586700003086.

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The King's Theatre, Haymarket, was destroyed by fire in June 1789. Shortly thereafter some wealthy and powerful patrons – notably the Prince of Wales (the future George IV), the Duke of Bedford and the Marquis of Salisbury – launched an ambitious scheme to build a fabulously expensive Royal Opera House in Leicester Square. The venture was designed to re-establish London as a major centre for Italian opera and ballet, to reform the wayward financial and artistic management of the King's Theatre and to give the capital city a grand opera house of modern design that would rival any in Europe. Bec

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Cagney, Liam. "Georg Friedrich Haas Morgen und Abend, Royal Opera House, London." Tempo 70, no. 276 (2016): 73–74. http://dx.doi.org/10.1017/s0040298215001047.

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Morgen und Abend is Georg Friedrich Haas's seventh opera, a co-commission by the Royal Opera in London and Deutsche Opera in Berlin. It is an hour-and-a-half long, and its libretto is adapted from the novel Morgon og Kveld (2000) by Norwegian author Jon Fosse, whose work Haas previously adapted in Melancholia for the Paris Opéra. Morgen und Abend's two continuous scenes present the life of fisherman Johannes by focusing on its two most salient moments – Johannes's birth (in the morning) and death (in the evening). In this strategy there is a slight, if inadvertent, echo of the lights on/lights

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Otten, Jürgen. "Glaube, Liebe, Hoffnung." Opernwelt 64, no. 1 (2023): 18–20. http://dx.doi.org/10.5771/0030-3690-2023-1-018.

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London leidet und versucht zu lächeln: Die English National Opera steht vor dem Aus, am Royal Opera House Covent Garden gibt es eine bezaubernde Händel-«Alcina» und eine bewegende Britten-«Lucretia» VON JÜRGEN OTTEN

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Książki na temat "Royal Opera House (London, England)"

Great Britain. Parliament. House of Commons. Culture, Media and Sport Committee. Royal Opera House. Stationery Office Books, 1997.

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Mosse, Kate. The House: Inside the Royal Opera House, Covent Garden. BBC Books, 1995.

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Lay, Paul. The official BBC guide to the reopening of the Royal Opera House. BBC Worldwide, 1999.

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Cooper, Bill. The Royal Ballet: In house. Oberon, 2002.

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1961-, Bowsher David, and Cowie Robert, eds. Middle Saxon London: Excavations at the Royal Opera House, 1989-99. Museum of London Archaeology Service, 2003.

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Isaacs, Jeremy. Never mind the moon. Bantam, 1999.

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Cristina, Franchi, ed. Plácido Domingo and the Royal Opera. Royal Opera House in association with Oberon Books, 2006.

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Castle, Kate. Ballet company. F. Watts in association with the Royal Opera House, Covent Garden, 1985.

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Gilbert, Susie. A tale of four houses: Opera at Covent Garden, La Scala, Vienna and the Met since 1945. HarperCollins, 2003.

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Savage, Richard Temple. A voice from the pit: Reminscences of an orchestral musician. David & Charles, 1988.

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Części książek na temat "Royal Opera House (London, England)"

Girdharn, Jane. "Biography." In English Opera In Late Eighteenth-Century London. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198162544.003.0001.

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Abstract Stephen John Seymour Storace (1762-96) was one of the leading English composers in the last decade of the eighteenth century. Studies in Italy led to opera commissions in Vienna and a friendship with Mozart, then to a career as house composer at the Theatre Royal, Drury Lane, until his early death at the age of nearly 34. His brief career was both prolific and successful.

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Thorp, Jennifer. "Isaac’s Dances for the Royal Court." In The Gentleman Dancing-Master. Liverpool University Press, 2024. http://dx.doi.org/10.3828/liverpool/9781638040958.003.0006.

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In Isaac’s day palace balls were held regularly in the royal palaces of Whitehall, St James’s, Kensington (after 1689), and occasionally Windsor. The monarch’s birthday was also celebrated each year by special events at court, attended by courtiers, officers of State, members of parliament, and visiting dignitaries. The celebrations inside the palace included professional performance of a play, opera, or entertainment with dancing, and in the evening was held the birthday/birthnight ball. Even though Queen Anne was often too ill to attend all the celebrations, they were regarded as central to

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"An Ordinance and Constitution of Treasurer and Company in England for a Council and Assembly in Virginia." In Schlager Anthology of Early America. Schlager Group Inc., 2022. https://doi.org/10.3735/9781935306672.book-part-038.

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The rapid modifications of royal charters to the Virginia Company of London (1606, 1609, 1611/12) included increasingly liberal governmental powers for the Virginia colony—which grew to include the Bermuda Islands. The 1606 charter held all governmental power in a superior council in England that was subject to direct instruction form the crown. The 1609 charter specified that stockholders must vote to fill positions on the superior council as well as colonial officials. The 1611/12 charter endowed the stockholders of the company all governmental powers for the colony, including the ability to

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"Electricity and the Atom: Davy, Faraday, Clerk Maxwell, and Thomson (England and Scotland, 1801–1907)." In Traveling with the Atom A Scientific Guide to Europe and Beyond. The Royal Society of Chemistry, 2019. http://dx.doi.org/10.1039/9781788015288-00099.

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A discussion of the role of electricity and magnetism in the development of the atom starts with Humphry Davy, who has moved to the Royal Institution (Ri) in London, where his good looks and flamboyant lectures make him an instant celebrity. Using Alessandro Volta's voltaic pile, Davy discovers six elements in two years. Davy's assistant, Michael Faraday, accompanies his mentor on a grand tour of Europe, and ultimately becomes one of the greatest experimental physicists of all time. We see a variety of Faraday sites all over London, including his magnetic laboratory in the Ri. The Scotsman, Ja

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Christianson, Gale E. "“LIKE A BOY ON THE SEASHORE”." In Isaac Newton. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195300703.003.0012.

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Abstract John Conduitt, The Son Of A Wealthy Family From The County of Hampshire in southern England, became a familiar face at Leicester House in the summer of 1717. While there is no doubt that the young man was in awe of Sir Isaac Newton, the primary reason for his frequent visits had nothing to do with science, mathematics, or the operations of the mint. Conduitt came to 35 St. Martin’s Street to court Catherine Barton, who at thirty-eight years of age was nine years older than her suitor, hut still very beautiful. Conduitt had served as a captain with the British Army in Spain, where he i

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"Pneumatists Set the Atomic Stage: Boyle, Hooke, Newton, Black, Cavendish, Priestley, and Davy (Western England and Northumberland, Pennsylvania)." In Traveling with the Atom A Scientific Guide to Europe and Beyond. The Royal Society of Chemistry, 2019. http://dx.doi.org/10.1039/9781788015288-00030.

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From about 1660 to 1800, pneumatic chemists produced and isolated gases or what were known as “airs”. We discuss the careers of seven pneumatists and early atomists and visit pertinent sites including the Royal Society in London, Newton's Woolsthorpe Manor in Grantham and his statue in the Trinity College Chapel in Cambridge, the Leeds Library and Mill Hill Chapel in Leeds, the Bowood House in Calne, and the Priestley House in the United States. Along the way, we discuss Robert Boyle's role as a chymist and chrysopoet (gold-maker), Isaac Newton's role as a devoted alchemist and atomist, the ro

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Kennedy, Michael. "The Land Without Music?" In The Works of Ralph Vaughan Williams. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198163305.003.0001.

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Abstract When Ralph Vaughan Williams was born at Down Ampney on 12 October 1872, English music was still drifting down the years of the Victorian era, leaderless and bereft of a sense of purpose. Music in England, on the other hand, was thriving. August Manns, at his Crystal Palace concerts, and Charles Halle, at his Manchester concerts, were introducing new works and had changed the nature of symphony concerts from a miscellaneous selection of music of varying types into a more selective and substantial evening’s listening. Christine Nilsson, Emma Albani, Trebelli, Santley, Reeves, and Tietje

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Gratzer, Walter. "The heat of the light." In Eurekas and euphorias. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780192804037.003.0157.

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Abstract Wilhelm Friedrich Herschel, eventually Sir William, was born in 1738 in Hanover, the son of a musician, in whose profession he was trained. At the age of 19 he travelled to England and soon established himself as a composer, conductor, teacher, and church organist in Bath. In 1766, he began to take a deep interest in astronomy and before long had built his own reflecting telescope. For this purpose he ground his own mirrors, fashioned from speculum, an alloy of copper and tin. Every spare moment, even during the intervals of concerts, Herschel would hasten to his workshop to put in a

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Jackson, Christine. "Noble Preoccupations." In Courtier, Scholar, and Man of the Sword. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192847225.003.0014.

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The accession of Charles I exacerbated the tensions experienced between monarch and Parliament under James I and Herbert’s courtly career gradually faded following the deaths of the duke of Buckingham and earl of Pembroke. Chapter 13 examines Herbert’s attempts, after his return from France, to secure noble title, appointment to the Privy Council, and payment of his long-overdue allowances. It explores his efforts, as old age approached, to retain a place for himself among the rising stars at court, carve out a role for himself as a member of the Council of War, avoid active involvement in par

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Kildea, Paul. "Tribute To Dmitry Shostakovitch (1966)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0088.

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Abstract It must have been in 1936 or so, when I had not long since left the Royal College of Music, my mind greedy for every musical experience to come my way, that I went to the old Queen’s Hall, London, to hear a concert performance of an opera by a new, young Russian composer, not many of whose works had reached England. In my experience a concert performance of an opera does not often succeed in giving much idea of its dramatic impact. But this one, of Lady MacBeth of Mtzensk (as it was then called) was a knock-out.1 I imagine it was well done, enough anyhow to give me a sense of the viol

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